Schlesinger’s nuanced, knowing DARLING – screened at Cambridge APH earlier this month – is a great example of British cinematic innovation, writes Sarah McIntosh.
Noel Megahey reports back from the Belfast leg of the The Japan Foundation Touring Film Programme 2014.
Toby Miller spoke to Ramon Zürcher, whose film “The Strange Little Cat” was one of the most talked about features at CFF2013.
Matthew McConaughey is completely believable as the arrogantly intolerant, coke snorting, Texan shag-monster in DALLAS BUYERS CLUB, writes Liam Jack.
The Coen brothers revisit some well-trodden themes in beautifully fascinating fashion, writes Jim Moore.
Piracy threatens the outcome of an independent cinema in this quirky and eccentric short comedy from Cambridge student Camila Kater.
August: Osage County, adapted by Tyler Letts from his Pulitzer-winning play, retains a vivid theatricality in its new cinematic setting.
Martin Scorsese’s film struggles with the contradictions of its source material despite a nuanced performance from Leonardo DiCaprio, writes Robbie Griffiths.
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
David O. Russell’s crime caper AMERICAN HUSTLE is an entertaining and sharp black comedy that rarely sags, writes Jim Ross.